wwe
The WWF Magazine was where I got my official start working for the World Wrestling Federation. I believe it was sometime around 1993. I began my journey writing free-lance stories at $150 dollars a pop. At the time my two video stores on Long Island, New York had gone out of business, and I was selling TVs/video equipment, full-time at a popular Island chain called P.C. Richards and Sons.
My only light at the end of the runway was writing about my passion—wrestling—whenever the editor would throw me a story—that was usually about once a month.
From there, I caught my huge first break when the editor of the magazine was released, and I interviewed for his job and got it! I was on top of the world! At 33 years-old, I had won the lottery as the full-time editor of the WWF Magazine!
I had my...
The WWF Magazine was where I got my official start working for the World Wrestling Federation. I believe it was sometime around 1993. I began my journey writing free-lance stories at $150 dollars a pop. At the time my two video stores on Long Island, New York had gone out of business, and I was selling TVs/video equipment, full-time at a popular Island chain called P.C. Richards and Sons.
My only light at the end of the runway was writing about my passion—wrestling—whenever the editor would throw me a story—that was usually about once a month.
From there, I caught my huge first break when the editor of the magazine was released, and I interviewed for his job and got it! I was on top of the world! At 33 years-old, I had won the lottery as the full-time editor of the WWF Magazine!
I had my...
- 8/8/2014
- by Vince Russo
- Obsessed with Film
His first post-The Last Fall project, Matthew Cherry has been at work on a new web series titled Almost 30. Reminiscent of some pre-1990 Woody Allen (when you watch it, you'll see what I mean), the series follows 27 year old Justin Simmons, whose life is put in disarray when his marriage proposal goes terrible wrong. It stars Michael Moss, Ricky Smith and guest-stars Brittany C. Richards, Harvey Alperin and Ej Curse. Episode 1, titled Almost Engaged, debuted yesterday and is embedded below:...
- 2/7/2013
- by Tambay A. Obenson
- ShadowAndAct
'The best thing to do in the first 24 hours is to keep your mouth shut as much as possible,' one expert says.
By Jayson Rodriguez
Lil Wayne at court Monday
Photo: Ray Tamarra/ Getty Images
Lil Wayne has been booked and processed into the Eric M. Taylor Center on Rikers Island to begin his one-year jail sentence.
According to most experts, the first 24 hours are the most crucial to ensuring a successful incarceration. Dr. Jefferey Ian Ross, a faculty member at the University of Baltimore's Criminology Division, advises that the superstar Mc keep to himself as he gets adjusted to his new surroundings.
"Most of the time, the best thing to do in the first 24 hours is to keep your mouth shut as much as possible," Ross told MTV News. "Keep your eyes open and basically do as you're told by the correction officers. Essentially, you shouldn't look at other inmates in the eye,...
By Jayson Rodriguez
Lil Wayne at court Monday
Photo: Ray Tamarra/ Getty Images
Lil Wayne has been booked and processed into the Eric M. Taylor Center on Rikers Island to begin his one-year jail sentence.
According to most experts, the first 24 hours are the most crucial to ensuring a successful incarceration. Dr. Jefferey Ian Ross, a faculty member at the University of Baltimore's Criminology Division, advises that the superstar Mc keep to himself as he gets adjusted to his new surroundings.
"Most of the time, the best thing to do in the first 24 hours is to keep your mouth shut as much as possible," Ross told MTV News. "Keep your eyes open and basically do as you're told by the correction officers. Essentially, you shouldn't look at other inmates in the eye,...
- 3/9/2010
- MTV Music News
One could make the case that any movie starring Penelope Cruz or William H. Macy can't be all bad. And "Sahara", which stars both Penelope Cruz and William H. Macy, proves the point: It isn't all bad.
What it is is a big summer action movie that would have been hot stuff about 30 years ago but looks tired and worn today despite a perky, attractive cast that refuses to wilt in the desert sun. Star Matthew McConaughey can draw female audiences just as Cruz draws males, so the film should do enough boxoffice so as not to cause the new Paramount regime any anguish. It might take video and DVD to put the film in the black.
Although shot in Morocco and Spain, the movie is set vaguely in sub-Saharan Africa, mostly Nigeria and Mali. "Sahara" is based on one of novelist Clive Cussler's Dirk Pitt adventures, whose intrepid hero is a deep-sea expert and treasure hunter with a nose for trouble and lovely women. In movie terms, Dirk is something of a cross between James Bond and Indiana Jones.
Unfortunately, McConaughey is a little too light to step into the kind of role Harrison Ford or Kevin Costner would have played it a decade or so ago. And Steve Zahn is likable but forced as Al Giordino, Dirk's happy-go-lucky sidekick with a quick quip for any situation. The division of labor between these two is best summed up by Zahn's line: "I'll find the bomb! You get the girl!"
Cruz doesn't have much to do other than look ravishing while jumping from a camel onto a moving train or leaping out of a helicopter to escape the villain. And Macy gets sidelined with a character, nominally Dirk's boss, who hears about all the action over the telephone. Still it is fun to watch the two actors turn nonsense into watchable nonsense.
So what is a deep-sea expert doing in the Sahara? Actually he is searching for a Civil War Ironclad battleship that he and he alone believes somehow drifted from Virginia to Africa 140 years ago. Cruz's Dr. Rojas is a World Health Organization doctor determined to locate the cause of a baffling new plague in Mali. Her search has no real connection to Dirk and Al's quest, yet they keep running into one another in the vast wilderness so that Dirk can rescue her from certain death. (In fairness, she rescues him too.)
The trio's escapades come to the attention of evil French entrepreneur Massarde (Lambert Wilson) and Mali strongman General Kazim (Lennie James) who send the entire Mali army after them to cover up the source of the rapidly spreading illness. Four writers struggle to give the plot any sense of plausibility without much success. Leaps in logic and locations abound as our heroes wisecrack their way through fights without a scratch.
First-time feature director Breck Eisner -- he has directed a TV film -- does a respectable job in maintaining forward momentum and brisk byplay among the actors. The film's action set pieces, including a battle between boats on a river, breaking into a mysterious power plant in the middle of nowhere and various skirmishes between our heroes and the general's faceless soldiers, come off effectively.
There is nothing to them though we haven't seen before, and the use of old pop songs on the soundtrack contributes to a strong feeling of Deja Vu. The film's otherworldly locations and sets that neatly blend into the startling vistas spruce up the formulaic happenings. Production designer Allan Cameron has, after all, designed a Bond movie, and this is his fourth movie in Morocco. Cinematographer Seamus McGarvey makes the most of the locations to give them a haunting beauty. No, it isn't all bad but it isn't very good either.
SAHARA
Paramount Pictures
Paramount Pictures and Bristol Bay Prods. present in association with Baldwin Entertainment Group a j.k. livin production, a Kanzaman production
Credits:
Director: Breck Eisner
Screenwriters: Thomas Dean Donnelly, Joshua Oppenheimer, John C. Richards, James V. Hart
Based on the novel by: Clive Cussler
Producers: Howard Baldwin, Karen Baldwin, Mace Neufeld, Stephanie Austin
Executive producers: Matthew McConaughey, Gus Gustawes, William J. Immerman, Vicki Dee Rock
Director of photography: Seamus McGarvey
Production designer: Allan Cameron
Music: Clint Mansell
Costumes: Anna Sheppard
Editor: Andrew MacRitchie
Cast:
Dirk Pitt: Matthew McConaughey
Al Giordino: Steve Zahn
Dr. Eva Rojas: Penelope Cruz
Massarde: Lambert Wilson
Dr. Hopper: Glynn Turman
Carl: Delroy Lindo
Admiral Sandecker: William H. Macy
Rudi: Rainn Wilson
MPAA rating: PG-13.
Running time: 123 minutes.
What it is is a big summer action movie that would have been hot stuff about 30 years ago but looks tired and worn today despite a perky, attractive cast that refuses to wilt in the desert sun. Star Matthew McConaughey can draw female audiences just as Cruz draws males, so the film should do enough boxoffice so as not to cause the new Paramount regime any anguish. It might take video and DVD to put the film in the black.
Although shot in Morocco and Spain, the movie is set vaguely in sub-Saharan Africa, mostly Nigeria and Mali. "Sahara" is based on one of novelist Clive Cussler's Dirk Pitt adventures, whose intrepid hero is a deep-sea expert and treasure hunter with a nose for trouble and lovely women. In movie terms, Dirk is something of a cross between James Bond and Indiana Jones.
Unfortunately, McConaughey is a little too light to step into the kind of role Harrison Ford or Kevin Costner would have played it a decade or so ago. And Steve Zahn is likable but forced as Al Giordino, Dirk's happy-go-lucky sidekick with a quick quip for any situation. The division of labor between these two is best summed up by Zahn's line: "I'll find the bomb! You get the girl!"
Cruz doesn't have much to do other than look ravishing while jumping from a camel onto a moving train or leaping out of a helicopter to escape the villain. And Macy gets sidelined with a character, nominally Dirk's boss, who hears about all the action over the telephone. Still it is fun to watch the two actors turn nonsense into watchable nonsense.
So what is a deep-sea expert doing in the Sahara? Actually he is searching for a Civil War Ironclad battleship that he and he alone believes somehow drifted from Virginia to Africa 140 years ago. Cruz's Dr. Rojas is a World Health Organization doctor determined to locate the cause of a baffling new plague in Mali. Her search has no real connection to Dirk and Al's quest, yet they keep running into one another in the vast wilderness so that Dirk can rescue her from certain death. (In fairness, she rescues him too.)
The trio's escapades come to the attention of evil French entrepreneur Massarde (Lambert Wilson) and Mali strongman General Kazim (Lennie James) who send the entire Mali army after them to cover up the source of the rapidly spreading illness. Four writers struggle to give the plot any sense of plausibility without much success. Leaps in logic and locations abound as our heroes wisecrack their way through fights without a scratch.
First-time feature director Breck Eisner -- he has directed a TV film -- does a respectable job in maintaining forward momentum and brisk byplay among the actors. The film's action set pieces, including a battle between boats on a river, breaking into a mysterious power plant in the middle of nowhere and various skirmishes between our heroes and the general's faceless soldiers, come off effectively.
There is nothing to them though we haven't seen before, and the use of old pop songs on the soundtrack contributes to a strong feeling of Deja Vu. The film's otherworldly locations and sets that neatly blend into the startling vistas spruce up the formulaic happenings. Production designer Allan Cameron has, after all, designed a Bond movie, and this is his fourth movie in Morocco. Cinematographer Seamus McGarvey makes the most of the locations to give them a haunting beauty. No, it isn't all bad but it isn't very good either.
SAHARA
Paramount Pictures
Paramount Pictures and Bristol Bay Prods. present in association with Baldwin Entertainment Group a j.k. livin production, a Kanzaman production
Credits:
Director: Breck Eisner
Screenwriters: Thomas Dean Donnelly, Joshua Oppenheimer, John C. Richards, James V. Hart
Based on the novel by: Clive Cussler
Producers: Howard Baldwin, Karen Baldwin, Mace Neufeld, Stephanie Austin
Executive producers: Matthew McConaughey, Gus Gustawes, William J. Immerman, Vicki Dee Rock
Director of photography: Seamus McGarvey
Production designer: Allan Cameron
Music: Clint Mansell
Costumes: Anna Sheppard
Editor: Andrew MacRitchie
Cast:
Dirk Pitt: Matthew McConaughey
Al Giordino: Steve Zahn
Dr. Eva Rojas: Penelope Cruz
Massarde: Lambert Wilson
Dr. Hopper: Glynn Turman
Carl: Delroy Lindo
Admiral Sandecker: William H. Macy
Rudi: Rainn Wilson
MPAA rating: PG-13.
Running time: 123 minutes.
Working for the first time from a script he didn't write and brazenly borrowing elements from other successful movies, Neil LaBute has with "Nurse Betty" fashioned a carefree comic fantasy out of what might have been a very dark tale. Perhaps lack of authorship benefits his comic sensibilities as a director. Whatever the reason, "Nurse Betty" is a playful movie that gives its stars -- Renee Zellweger, Morgan Freeman and Chris Rock -- the leeway to imbue characters almost too kooky for belief with touching humanity.
With careful nurturing, USA Films could successfully reach a broad demographic with this funny though definitely twisted movie. It suffers from a third act that fizzles out, but it should have built up enough good will by then to only slightly disappoint audiences.
John C. Richards and James Flamberg's screenplay takes its inspiration from two key movies, "Being There" and "Pulp Fiction". The line between reality and fiction disappears for young Kansas waitress Betty Sizemore (Zellweger) when she secretly witnesses the brutal slaying of her no-good husband by two Tarantino-like hit men, the aging Charlie Freeman) and his hard-headed protege Wesley (Rock).
This trauma causes her to truly believe she is Nurse Betty, the ex-fiancee of Dr. David Ravell, a character on her favorite hospital soap opera. She takes off for Los Angeles -- unwittingly in the Buick LeSabre containing the very drugs the hit men must recover -- to reunite with her long-lost love.
Instead she meets actor George McCord (Greg Kinnear), who plays the doctor. But she engages the actor as his character and he, thinking he is witnessing an actress performing a brilliant improvisational audition for a role on the soap, is charmed by his former "fiancee."
The hit men turn up along with -- a bit of a stretch here -- the sheriff Pruitt Taylor Vince) and a reporter (Crispin Glover) from her hometown for a final mix-up and shoot-out than falls flat after the neatly performed tightrope walk of the first two acts.
Giving the lighter-than-air fantasy grounding in flesh-and-blood is a group of actors seemingly energized by this whacked-out collision between film genres and alternate realities.
Freeman especially loses himself in this hit man obsessed by his last target, a woman who is either his equal in calculating criminality or who possesses a style and flair that could win his heart. Freeman neatly suggests a delicacy and a longing for human contact in this cold killer.
Zellweger is one of the few actresses who can play such sweet innocence. Betty's almost Candide-like guilelessness is the linchpin to the film's comic dynamics, and she performs it effortlessly.
Rock demonstrates that he is maturing as a film performer. Instead of turning in an extended comedy act, he gives lethal dimension to his amoral hit man, impatient with his mentor and with emotional coolant running through his inner coils.
The location work and shifts in light and color as the movie warms up mark top-notch work by behind-the-camera personnel. Indie poster boy Neil LaBute may be moving into the mainstream.
With careful nurturing, USA Films could successfully reach a broad demographic with this funny though definitely twisted movie. It suffers from a third act that fizzles out, but it should have built up enough good will by then to only slightly disappoint audiences.
John C. Richards and James Flamberg's screenplay takes its inspiration from two key movies, "Being There" and "Pulp Fiction". The line between reality and fiction disappears for young Kansas waitress Betty Sizemore (Zellweger) when she secretly witnesses the brutal slaying of her no-good husband by two Tarantino-like hit men, the aging Charlie Freeman) and his hard-headed protege Wesley (Rock).
This trauma causes her to truly believe she is Nurse Betty, the ex-fiancee of Dr. David Ravell, a character on her favorite hospital soap opera. She takes off for Los Angeles -- unwittingly in the Buick LeSabre containing the very drugs the hit men must recover -- to reunite with her long-lost love.
Instead she meets actor George McCord (Greg Kinnear), who plays the doctor. But she engages the actor as his character and he, thinking he is witnessing an actress performing a brilliant improvisational audition for a role on the soap, is charmed by his former "fiancee."
The hit men turn up along with -- a bit of a stretch here -- the sheriff Pruitt Taylor Vince) and a reporter (Crispin Glover) from her hometown for a final mix-up and shoot-out than falls flat after the neatly performed tightrope walk of the first two acts.
Giving the lighter-than-air fantasy grounding in flesh-and-blood is a group of actors seemingly energized by this whacked-out collision between film genres and alternate realities.
Freeman especially loses himself in this hit man obsessed by his last target, a woman who is either his equal in calculating criminality or who possesses a style and flair that could win his heart. Freeman neatly suggests a delicacy and a longing for human contact in this cold killer.
Zellweger is one of the few actresses who can play such sweet innocence. Betty's almost Candide-like guilelessness is the linchpin to the film's comic dynamics, and she performs it effortlessly.
Rock demonstrates that he is maturing as a film performer. Instead of turning in an extended comedy act, he gives lethal dimension to his amoral hit man, impatient with his mentor and with emotional coolant running through his inner coils.
The location work and shifts in light and color as the movie warms up mark top-notch work by behind-the-camera personnel. Indie poster boy Neil LaBute may be moving into the mainstream.
- 5/15/2000
- The Hollywood Reporter - Movie News
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